THE last film by French writer/director Claude Miller was his adaptation of Francois Mauriac’s novel about Therese, bourgeois with leftist tendencies.
Her family owns a pine-tree estate in south-west France. As an adolescent, her best friend is Annie Desqueyroux whose family also owns a pine plantation. She marries Annie’s brother Bernard in hope that being a wife and mother will bring fulfilment of her mind’s questing about ideas.
For Bernard, Therese means accretion to his land-holdings and wealth. His family does not think highly of her. Less than stimulating in any way, he’s a hypochondriac, counting the drops of his medication into a glass of water.
In time, Therese undergoes investigation for forging Bernard’s prescription. She is confined to her room in the Desqueyroux house. Her child is given into the care of Annie who no longer regards Therese as her best friend. The Desqueyroux servants treat her with disdain. Through these deprivations, Therese remains stoical, hopeful of breaking away.
Audrey Tautou delivers Therese with restrained acceptance of the deal that she unknowingly signed up for by marrying Bernard. She’s a survivor, her optimism not dashed by adversity. As her story slowly unfolds, the film invites us to ponder French provincial life between two world wars and, perhaps, give thanks that things have changed since then.
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